Dance in musicals, although it may seem like a dying art form, can be, if used correctly, an integral part of a show. Whether it's the unique style that takes you to the era, the sheer enjoyment of it, its ability to tell a story and atmosphere, or even just to add an anchor to the show, choreography can influence the success of a show. In this essay I will explore how each dance number led to the success of its respective musical in some way by establishing or advancing the theme, style, tone, or plot of the show. Many times when you think of Broadway musicals, iconic numbers come to mind. Both non-dancers and dancers can enjoy the beauty, spectacle and atmosphere that choreography can bring to a show. We say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The plot of West Side Story is a reimagined take on Shakespeare's Romeo and Juliet set in New York City. At the center of the story are two rival gangs, the Puerto Rican Sharks led by Bernardo and the Jets led by Riff. The two star-crossed lovers in West Side Story are Maria, Bernardo's sister, and Tony, a member of the Jets. Maria and Tony fall in love despite the opposition of her brother and the two gangs. In a terrible turn of events, Tony kills Bernardo, but Maria reunites with him while he is a fugitive on the run. Tragically the musical ends with Tony being hit by a shark. West Side Story relies heavily on choreography to not only tell a story but to create an emotionally charged atmosphere. The show was choreographed by Jerome Robbins and music and lyrics by Leonard Bernstein and Stephen Sondheim. Surprisingly, the musical was not originally a huge success, as many would expect from such a classic standard of musical theatre. However, the film released in 1961 brought the musical to fame. What is so fascinating about Jerome Robbins' choreography are the various stylistic differences in each number. As incredible as the choreography is to watch, it also tells a story in itself. In the third number of the musical, we can once again see the tension and pent-up energy between the Sharks and the Jets in a number called Mambo. And although this number is named after a Cuban dance style, there is also a mix of ballet and other styles. West Side Story has so many iconic numbers, however, what makes Mambo (The Dance at the Gym) so memorable is that it introduces the two love interests as well as the dynamics of the other characters. The dance in the original 1961 film begins with parade music with a mix of men from the Sharks and Jets moving in an outer circle and women moving in a smaller inner circle, while looking back and around the space waiting to fight. A loud whistle is blown and everyone stops in place and turns to see who their partners are. They are paired with members of the opposing gang, the drums begin with a very rhythmic beat and the mambo begins with Bernardo extending his arm towards Anita and this crossing of arms continues until each gang is with their respective group and the room divides . A dance begins and the Sharks' movements are very subtle with an isolation of the hips, the dance grows into larger movements and the groups move to opposite sides of the room. The choreography of the dance becomes crucial in creating the atmosphere and the different dance styles define the Jets and the Sharks. You can almost feel the tension between the gang members. In the most recent revival of the Broadway musical, the choreography is almost a reflection of the original. The groups begin tomove towards each other with very large movements dancing with their partners and Tony enters the dance. We then see the sharks gather in a corner where they calculate their next move as they begin the dance. The Jets stop dancing and reluctantly give up their place on the dance floor as the music turns into a very romantic, slow pace with subtle movements including isolation of the hips, the dance crescendos into larger movements and the music reflects this change. The Jets break in as they make their move, and although they were initially dancing the mambo, they switch to a more rocking, swinging style. They eventually create two separate semicircles where they dance just for their friends, which also reminds the audience that these are kids, at a high school dance, and with all the dramatic stuff they get involved in throughout the film. prove that it is easy to forget. The choreography in the gym dance tells a story of rivals and we see the differences in the ethnic dance styles of the Sharks' Latin dance versus the Jets' Caucasian dance style. An interesting scene is when they stop mirroring each other as we see the groups transform the same choreography into what each group thought was the right “style”. Robbins' choreography in this dance particularly shows the differences in how the groups move, while also showing what can be seen as a fun high school dance. At the end of the number, the trumpet blast and music dissipate as lovers Maria and Tony make eye contact for the first time and all the tension evaporates. They are clearly attracted to each other, but there is something much purer. The dance between Maria and Tony is a perfect transition to set the moment they fall in love and it is in that moment that the audience also falls in love with the doomed couple. In West Side Story the choreography is at the center of the plot of The story and the choreography are much more than simple dance numbers, they emphasize and tell a story where the monologue alone cannot. Fosses' influence on choreography brought his unique style to mainstream popularity. An influential show he choreographed and directed was Cabaret, which was performed both on Broadway originally in 1966 and as a film in 1972. This show is set in Berlin, on the brink of World War II. The show itself has a dark and disturbing tone with impending war just around the corner. Woven throughout are bits of humor in the disco to provide levity and escape from problems. The piece “Mein Herr” in particular is impressive and requires strength to perform a plank on a chair, but it also brings a certain style to the elegant Berlin club where the show is set. The Mein Herr number specifically captures an image, the women on stage pose and stand perfectly still in a broken doll-like position. They also roll their ankles as if they were snapping their fingers, again Fosse-style. What is so interesting about this production is that, although the dance appears strange, there is something about the exact timing and synchronization that makes it extremely sensual. Fosse's unique style can also be seen in the musical Chicago, as Cabaret was also very successful on Broadway and in film. Chicago has seen its longest revival since 1996 and its success can be attributed to Bob Fossee and his creation of jazz as a new art form. The musical Chicago begins with the introduction of Velma Kelly, the scene cuts to Roxie Hart having killed her lover. Roxie is sent to prison where other inmates are accused of murder, including Velma who is accused of killing her husband and sister. The first night in prison opens with the number “Cell Block Tango” in whicheach woman tells her own story of how she was thrown into prison. Roxie fears being put on death row and so chases Billy Flynn who had never lost a case to a woman and uses the attention and sympathy of the media and the press to get out of prison. Velma is not happy with the new developments as she was previously the darling of the media. Velma observes this and tries to form an alliance with Roxie which is rejected. A competition begins among the women as to who can get the most press coverage and be saved. Eventually, both women conspire together and both unite and become a famous duo in jazz. Chicago is set in a 1920s speakeasy. From the beginning of Velma's entrance, where she wears a black slip as she appears from the floor and the lights echo her silhouette. In the back, there is an immediate focal point of her walking down the stairs: the whole forms a pyramid and creates a shadow of her simple movements that capture attention. Then, suddenly, halfway through the number, the choir breaks into chaotic movements and then returns to unison with its arms waving. The choreography clearly sets the tone and atmosphere. The audience is then introduced to Roxie and a lover. The choir gathers in a pyramid formation for just a taste and then they dance freely again. We then see Roxie and Fred again as they say goodbye after their date, which is when the ensemble reforms back into formation but instead of being synchronized the chaos builds to a crescendo where we have an image of the ensemble stretching out with the hands of jazz and therefore suppressing them. The next scene we see is where Roxie shoots Fred and then the song ends after the ensemble waves their arms in the air and Velma whispers "All that Jazz." Fosse created the new style of jazz of the time and told a story without every movement giving it away. The amazing thing about Fossee was his ability to expand his work outside of choreography, as director of Cabaret he was able to share his work with others, the result was the film Chicago released in 2002. His choreography in both of these shows he was so influential that he danced lower and changed the way we see dance today. But her style was not only unique, but it opened doors for people to explore their sexuality, whereas before dance was much more conservative. Cat's is another musical where choreography was an integral part of its success. Gillian Lynne's choreography, inaugurated in 1982, was a transformation of the art form from a classically based genre to a high energy modern dance which can best be seen in Jellicle Ball, number in the first act. Regardless of personal conflicting opinions of the show “Cats,” its success cannot be denied. This musical launched the career of Andrew Lloyd Webbers. The dances are a mix of ballet training and eighties workout videos. The stamina required to perform the routines is incredible and the unique choreography is reminiscent of a cat's mannerisms. The musical is said to be "a revue about the world of cats", based on TS Elliots Old Possum's Book of Practical Cats to which Andrew Lloyd Webber set music. The set looks like a dystopian landfill. The iconic dance number is the Jellicle dance where the cats are excited to see who will be granted extra life. The cast starts huddled on the ground and one by one they perch looking for something. The group disperses and three different dances all take place intermingled on the stage while the cats dance. They then all come together in the same choreography as we see them extend with the basics of ballet, but in a jazz style. We see it in the movement of the beautiful lines created by the leg being kicked and yet.